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The Ramlila is a dramatic enactment of the life of Rama, considered an avatar of Vishnu and the hero of the ancient epic, the Ramayana. The Ramlila is performed during the 10 days preceding Dusshera and ends with the burning of huge effigies of Ravana, the chief antagonist of Rama, thus signifying the victory of good over evil. Luv Kush Ramlila Committee (LKRC), one of the biggest and most popular Ramlila organisers in Old Delhi, started organising Ramlila shows in 1988. Over the years LKRC has gained immense popularity and now hosts professional film and TV artistes, while also giving young actors a chance to perform alongside stars from the entertainment industry. Besides actors, every year this event gives employment to hundreds of other professionals, like tentwallahs, craftsmen, pyrotechnicians, sound designers, lighting technicians, production designers, tailors, costume designers, dancers, choreographers, make-up artists, hair stylists, caterers, florists, videographers, film crews and photographers. At LKRC people from different regions, castes, religions, genders, professions, all come together and contribute to a bigger cause—the enactment of the Ramayana.

While attending any stage performance, we get engaged for a couple of hours by the dazzle of colours, lights, sound, stage and the unfolding drama. However, few explore the stories behind the drawn curtains; the nine-tenths of the submerged iceberg in showbiz called the backstage: a space which transforms actors to the larger-than-life characters they enact on stage. As a photographer and theatre artist, Moushumee Jha has been fascinated by the life behind the curtains of the Luv Kush Ramlila. Her pictures takes you to the world backstage; documenting the camaraderie between actors, the long hours of getting ready, the nervous energy and the chaotic preparations undertaken before each performance. We get to see the human stories of the actors who are mostly aam aadmi, with very regular day jobs, but participate in the Ramlila for the love of acting. When an actor or actress puts on the crown and transforms into Lord Rama, Hanuman or Sita, the cast and audience forget their human form and bow down in the veneration accorded to a deity incarnate. In much the same way the Ramlila is something transcending theatre and becomes a symbol of inclusion and a tribute to the universal appeal of the epic.

Delhi has a long history of hosting the Ramlila. The Mughals patronized the festival which used to take place on the sandy riverbank of the Yamuna behind Red Fort. The venue was later shifted to Ramlila Maidan. It has now returned to the neighbourhood of the Red Fort and is organized on the grounds in front of it.

Painted cut-outs in the background recreate the holy city of Ayodhya, the birthplace of Lord Rama. The backdrops change as Rama travels through India in search of Sita. An important person overseeing the whole 'bandobast' would be a production designer in charge of backdrops, lighting, props and various other elements of stage design. Assisting him/her would be an army of light, stage and sound technicians who have to fit all necessary equipment and wiring around the stage.

Made of bamboo and coloured paper, these huge effigies of Ravana are made by a Muslim family engaged in this job for generations. Given their large size, the effigies cannot be transported, therefore the family put up a temporary studio in the Ramlila grounds and make the effigies on the same spot where they are eventually burnt at the end of the Ramlila.

An actor sits like a king on a singhasana. Ramlila over the years has grown in budget and popularity, and has transformed from a working-class entertainment to that in which the middle and upper middle class also enthusiastically participate. One of the factors contributing to the popularity of the Ramlila in modern times was the great success of the weekly TV serial in 1987-88, directed by Ramanad Sagar. The serial reignited the imagination of Lord Rama in the popular imagination.

True to the spirit of the Ramlila, the presence of Rama is omnipresent in image and words, like this saffron wrap worn by actors with Sita-Ram printed on it in Devanagari script.

One very visible aspect of the backroom camaraderie, actors assist each other in putting on costumes or providing tips about putting on make-up and artificial hair. This creates a chemistry of trust and friendship which is a very integral part of the Ramlila and reflected in the performances onstage.

Garments and costumes form an essential part of the Ramlila performance and a tailor must always be at hand for last minute alterations and stitching. Masterji has been dressing up the gods for more than 30 years, and still going strong.

Many actors who participate in the Ramlila have family, and finding a balance between family time and the rehearsals is a challenge for many. Family members often accompany the actors during the long hours of preparation and patiently wait on them.

In the past, male actors exclusively performed the role of female characters, but with changing times, and more social acceptance of females in the field of acting, the major female characters are now largely played by women actors. However, even now, if there is a requirement, men step in to play the role of females.

An actor patiently sits through a make-up session. Colour plays a very important role in highlighting the personality of the various characters of the Ramayana. Similar colour coding through make-up and costume is seen in other performing arts which have originated from the Ramayana, like Kathakali and Yakshagana.

An actor prepares for the role of Bharata, the brother of Rama. Each year new actors appear for the parts, selected after an audition. Actors are rarely repeated the following year, thus giving everyone a fair chance to be a part of the Ramlila. The roles of Rama, Lakshman, Sita, Hanuman and Ravana are most sought after, and many small-time actors aspire for bigger roles in the TV industry after appearing at the Ramlila.

Sporting a big handlebar moustache, the fierce character of Ravana takes shape under the expert hands of a make-up artist. The surrounding bamboo scaffolding and shamiana gives an idea of the temporary character of the stage.

Bright orange or saffron seems to be omnipresent; it appears in the colour of the tent, on garments and even in the garland made of marigold flowers. Sitting on a charpai, an actor applies 'alta' along the soles of his feet. Red in colour, alta is applied to the hands and feet and is a symbol of prosperity.

Director of the Ramila, Mr. Parvesh Kumar himself dons the part of Dashratha, father of Rama. Like Alfred Hitchcock, Mr. Kumar makes cameo appearances in the Ramlila in small character roles. Like Dashratha who was made to exile Rama, Mr. Kumar also seems to be sending someone into exile, at least from the green room!

As the show nears its end, tired artists rest before the last act.

Fierce rivals on stage, Rama, Lakshmana and Ravana hang out backstage. The large, and often heavy, headgear lying behind Ravana forms a ten-headed extension which he dons just before he goes on stage.

Once the facial make-up of Ravana is complete, he sits in a corner and practises the loud 'evil' laughter that inspires terror among the younger viewers.

An actor playing the role of Lord Shiva, doing a final run-through of his speeches written in a notebook.

Actor preparing for his role as Vibhisana, brother of Ravana. Perhaps the most notable difference between good and evil characters lie in the colour of costumes and facial hair. Rama and his entourage are always portrayed in bright colours (saffron is most popular), while Ravana and his henchmen are depicted in dark colours. Rama and Lakshmana are always clean shaven, with their hair tied in a top knot and adorned with flowers; rakshasas have flowing locks and big moustaches.

The most carefree of the actors are the troupe of young boys who play the role of the 'Vanar sena' or army of monkeys who help Rama in his invasion of Lanka. The Vanar Sena relentlessly harassed the mighty army of Ravana, and in real life too these boys are often the most active pranksters on the set.

Preparing the army of characters and keeping them fresh for their roles forms the job of make-up artists, costume designers, and hairstylists, all of whom put in a lot of effort in their makeshift green rooms.

Sporting large painted moustaches, young actors playing the role of rakshasas have a fun time during rehearsals.

An actor playing the role of Lord Shiva gets some last minute acting tips while his consort Parvati waits by his side. The stage is built as a replica of Mount Kailash in the Himalayas, which is believed to be the abode of Shiva and Parvati. Ravana, the chief antagonist in the Ramayana, was an ardent devotee of Lord Shiva and Shiva and Parvati appears at several points of the Ramayana story.

A significant new addition to the experience backstage is the ubiquity of the mobile phone. The phone is indispensable during the long hours of putting on make-up and waiting to appear on stage. It also helps actors in checking out their own make-up and rehearsing their roles.

A significant number of costumes, shoes, weapons, helmets and jewellery are needed for the actors who have to play roles ranging from ascetics to kings, monkeys and asuras. These costumes and accessories are not hired, but owned by the Luv Kush Ramlila Committee who recycle around 40% of the costumes and the rest are made afresh each year. Accessories distributed to the actors are duly collected at the end of the play, packed up in trunks, and stored away till needed the following year,

A major logistical challenge in organizing a large stage show is to arrange food for the cast and crew. Caterers are hired from Old Delhi who set up their kitchens on the Ramlila ground and keep the large cast and crew fed round the clock.

The Ramlila performance has become more extravagant over the years and has borrowed many elements from showbiz. Nowadays they even feature professional dancers and several dance directors. Dances are often fitted into the narrative to entertain the audience but are also integrated with the storyline of the Ramayana.

An actor set to play the role of Krishna. Lord Krishna, considered like Rama to be an avatar of Vishnu, is not a character who appears in the Ramayana. His appearance at the Ramlila is thus a modern innovation, where he features as the 'sutradhar' or the storyteller of the Ramayana.

The Ramlila cast includes gods, goddesses, avatars, rakshasas, kings, queens, common folk, demons, sages, mythical beasts, celestial creatures and a range of wild animals. The characters cover the whole spectrum of good and evil, divine and earthly, thus creating a bizarre gathering of eclectic costumes, makeup, accessories and weapons.

An actor playing the role of Shiva waits in anticipation to play his part. Families bring their children to meet actors and seek their blessings as incarnations of the god and goddesses they play on stage. This form of 'bhakti' and 'bhavna' they inspire in devotees is an integral part of the Ramlila, where actors are often elevated from mortals to the status of divine avatars.

Actor Mukesh Rishi puts on his best snarling face for the press cameras and enthusiastic photographers. The Ramlila, where amateur and professional actors both work together, serves as a level playing field across the class and talent divide. It gives a chance for young rookie actors to meet their onscreen idols and motivates them to pursue their dream of acting in television or films.

The heavy costumes, make up, bright lighting and physical activity take a physical toll on the actors and someone is always at hand to help out with a much deserved serving of drinking water.

Videography of the Ramlila using a dolly. Such modern techniques of shooting, handled by professional cameramen and videographers give a highly professional coverage of the event. Large screens are put up for audiences and the play is covered by many news channels.

Coordinating the large cast is a herculean task. The Ramlila staging is overseen by a director who takes overall charge of the entire 12-day performances. Assisting the director is a choreographer who sets up the many battle scenes and other dramatic enactments on stage which require coordination between various groups of actors.

Seen here is director Mr. Parvesh Kumar (in a kurta) who is constantly involved with the actors, animatedly explaining the emotions they have to enact and applauding them for their performances.

The modern rendition of the Ramlila uses all types of production techniques borrowed from television and film shoots. Tethered swings and cranes are used to add more drama and verisimilitude while depicting flying or celestial scenes. For example, here Lord Ganesha appears suspended from a crane.

The growth of the telecasting and entertainment industry in the last couple of decades means the Ramlila is now recorded and aired on devotional channels. The event caters to an expanding viewership. Large screens are put up for people to watch the play and projectors are used to create backdrops for the stage. Thus technological innovation is bringing about inevitable change in the content, structure and format of the Ramlila.

The Ramlila is also made dramatic by the usage of real fire under the supervision of professional pyro-technicians. Here a gang of monkey warriors get ready to set fire to Lanka with torches handed over to them backstage.

The climax of the Ramlila takes place with the burning of huge effigies. Rama and Lakshmana shoot fire arrows at the effigies representing Ravana, his brother Kumbhakaran, son Indrajeet and other family members. The effigies are rigged with explosives and combustible materials and burn down amidst much appreciation from the throngs which gather to witness the event.

Moushumee Jha

Moushumee is an accomplished photo artist whose sensitive frames capturing people, culture, street life has been appreciated by photographers, designers and creative professionals. She brings her experiences as theatre actor and rich cultural lineage to her photography. She has published 3 books on her work and is currently working on a 4th book on widows of Vrindavan & Varanasi.

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